creep horror movie review

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Shocking violence in creepy found footage/stalker movie.

Creep Movie Poster: A sinister figure stands silhouetted at the top of a staircase, the title scrawled in jagged letters

A Lot or a Little?

What you will—and won't—find in this movie.

Suggests that there should be more resources to ca

The only two characters here are a killer and a vi

The only two characters on screen are White men. A

Near-constant threat. One character sinks an ax in

Character does a "tubby" (bath time) scene for unb

Two uses of "f--k," plus a few uses of "s--t" and

Casual drinking. Chugging whiskey. Character passe

Positive Messages

Suggests that there should be more resources to care for those who, like Josef, need mental health support.

Positive Role Models

The only two characters here are a killer and a victim.

Diverse Representations

The only two characters on screen are White men. A woman's voice is heard on the phone.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Near-constant threat. One character sinks an ax in another character's head, seen from a distance. Character claims to have raped his wife. Character claims to be dying of a brain tumor. Death discussed; death by suicide mentioned. Jump scares. Character in scary wolf mask. Character drags and buries garbage bags that may or may not contain human remains. Character describes a dream in which he's covered in blood. Suggestion that a character is a serial killer with many prior victims.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Character does a "tubby" (bath time) scene for unborn son, shirtless in tub, pants seen partially pulled down over crotch area (nothing graphic seen). Sex-related dialogue, mentions of pornography and animal pornography. Character shoves his hands down his pants and is seen moving his hand around.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Two uses of "f--k," plus a few uses of "s--t" and a use of "goddamn."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Casual drinking. Chugging whiskey. Character passes out from drugged drink.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Creep is a found-footage horror movie with just two characters: father-to-be Josef ( Mark Duplass ) and Aaron ( Patrick Brice ), the videographer Josef hires to make a video for his unborn child. It's a fairly typical "stalker" tale, but it's made with style and imagination. Violence is the biggest issue: There's a shocking ax murder (seen from a distance), a constant sense of threat, graphic dialogue about rape, jump scares, and more. Certain situations suggest or refer to violence, death, suicide, and terminal illness. A character who takes a bath is seen shirtless, his pants pulled down a couple of inches (nothing graphic is seen). A character shoves his hand down his pants and moves it around, and there's sex-related dialogue. Language includes two uses of "f--k," plus "s--t" and "goddamn." Characters chug glasses of whiskey; one is drugged and a character passes out. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

In CREEP, struggling videographer Aaron ( Patrick Brice ) accepts a job filming a kind of video diary for Josef ( Mark Duplass ). Josef has been diagnosed with a brain tumor and wants to leave behind a record for his unborn son. Aaron travels to a remote cabin in the woods to meet his jovial host. Over the course of the day, Josef's behavior makes Aaron feel more and more unsettled. And when it's time for him to leave, his car keys have mysteriously disappeared. The final straw comes when Aaron intercepts a phone call from Angela ( Katie Aselton ), whom Josef claimed was his pregnant wife but is really his sister. She urges Aaron to escape. But the story is only beginning.

Is It Any Good?

It was obviously inspired by other two-hander horror thrillers, but this micro-budget, no-frills wonder gets the job done spectacularly, generating suspense through human behavior and threat. Written by the two stars and shot and directed by Brice, Creep cost, by some accounts, less than $500. (Duplass has said in interviews that it cost literally "nothing.") Brice and Duplass are the only two people who appear on camera (Duplass's wife, Aselton, lends her voice for the phone call). But the pair concentrate on emotions and interactions that make the movie constantly gripping. (It helps that it's a tight 77 minutes long.)

Duplass is a skilled performer with an "ordinary guy" quality that can easily be molded to just about anything else, from comic to romantic to sinister. And he understands how to make scary stuff unfold organically, never overplaying his hand or going over the top. Brice matches him, making the most of the innate human fight-or-flight response to conflict. Aaron's eventual decision to try to make things right is also believable. Moreover, the filmmakers manage to make their movie work on a visual level, with creative compositions and use of the large cabin and surrounding woods; even the jump scares are well thought out. Creep may be a small movie based on a familiar concept, but it's proof that, with creativity and smart storytelling, anything can be made big.

Talk to Your Kids About ...

Families can talk about Creep 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

Is the movie scary? What's the appeal of horror movies ? Why do people sometimes enjoy being scared?

What is a "two-hander"? What are the advantages and disadvantages of telling a story with only two characters?

What's the appeal of "stalker" stories? Are stalkers wholly evil characters, or are they simply humans who could be anyone?

Movie Details

In theaters : June 23, 2015
On DVD or streaming : July 14, 2015
Cast : Mark Duplass , Patrick Brice , Katie Aselton
Director : Patrick Brice
Studio : The Orchard
Genre : Horror
Run time : 77 minutes
MPAA rating : R
MPAA explanation : brief violence and language
Last updated : May 23, 2024

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Movie Review

Review: ‘Creep,’ a Horror Film With the Look of Found Footage

By Andy Webster

Sept. 1, 2015
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The actor and director Mark Duplass has come a long way from his mumblecore days, when he appeared in modest, low-budget movies like “Hannah Takes the Stairs,” often collaborating with his brother, Jay. Now he’s an indie stalwart, who helped create, and stars in, “Togetherness” on HBO. But he still has a taste for bare-bones filmmaking, as evidenced by “Creep,” a horror two-hander in which he stars, directed by Patrick Brice.

Mr. Brice also stars, as Aaron, a soft-spoken filmmaker for hire invited by Josef (Mr. Duplass) to a rustic cabin for a personal project, a video to be shown to Josef’s unborn son when he comes of age. Josef might have terminal cancer, you see, and wants to leave his child a filmed keepsake. Or so he says. (Josef invokes the Michael Keaton 1993 weeper, “My Life,” of which “Creep,” initially, is a kind of twisted variation.) Gradually, Aaron discovers Josef’s distressing habits (a tendency to overshare), possessions (a wolf’s-head mask, an ax) and needs, which are many (even possibly homicidal).

The found-footage conceit reaches an apex here, with the two actors sometimes passing the camera between them, in character. The tricks, of course, are in the unnerving visuals of hand-held hardware, and in the editing. Most of the tension rests on Mr. Duplass’s performance, which doesn’t approach, say, Mr. Keaton’s troubled renter in “Pacific Heights” or Jessica Walter’s obsessed fan in “Play Misty for Me.” Still, the film is remarkable, considering its minimal means and surprising lack of bloodshed, given the genre. Does it stay with you? A little.

“Creep” is rated R (Under 17 requires accompanying parent or adult guardian) for violence and obscene language.

Eric’s Review: Creep (2014)

★★★1/2 out of ★★★★★

An apt title. it also could have been called weirdo. (paging thom yorke).

The most effective and affecting found footage horror movies bank on authenticity. The shaky camera trope when done right has the ability to place you right at the site of the crime… story. The difficulty that many found footage movies is that they have to establish a good rationale as to why the handheld camera is being used in the first place. The old chestnut of the student film has been done to death, pun intended, as is the trope of the TV crew looking to confirm a local legend. Done. To. Death. Creep found a creative way to integrate the found footage premise and manages to lift itself above its peers.

Patrick Brice stars and directs this film, and Mark Duplass, of the LOL-worthy comedy The League on FX also stars. This is entirely a two-person film, with the two of them improvising off of each other, and their improvisation skills come in huge by getting true reaction shots. According to IMDB, the film was initially intended to be more comedy than horror, but after consulting with their friends and colleagues flipped that ratio, and it became much more of a horror movie, but it does retain a good bit of its humor. It does have a lot of moments where you titter in a “Hee hee… oh God let’s get out of there!” way. This film was a big hit on the SXSW festival, which has become a fantastic launching ground for indie horror projects.

PLOT SPOILERS AHEAD!

Patrick Brice plays Aaron, a videographer who has responded to a Craigslist ad, looking for someone to follow them around for a day. Not much else is known about this request, but the person is very vague about what the shoot will be about other than the locale in a remote Sierra Nevada CABIN IN THE WOODS. Yeah… warning flags, there. When Aaron arrives at the cabin he was summoned to, nobody is there to greet him, and he retreats back to his car. A second warning flag comes in the form of an axe on a chopping block in front of the cabin, in a bit of blunt foreshadowing. Aaron continues to record in his car, debating whether to stick around, when he gets surprised by Joseph (Mark Duplass, of The League comedy series on FX).

Joseph explains to Aaron that he’s dying of cancer and that he has an unborn son, whom he wants to chronicle a day in his life for. Perfectly plausible. Perfectly reasonable. But almost immediately, Joseph insists on taking a bath to do a “tubby time” segment that he laments he may never get to do with his son to be. OK. Weird. But as an audience, we’re willing to stick with it… though given the title of the movie, yeah, we know what’s up. Duplass makes tubby time both goofy fun and really awkward, and milks the scene by doing some odd pantomime and then straight exposition to his kid and then back to awkward pantomime.

This was a terrific scene to establish the tone of the movie. On the surface, the scene is a loving and warm message to the camera, but all around it the darkness is seeping out on the edges. The creepy undertones are immediate, but with Aaron substituting for you behind the camera, you can’t just get up and leave. Also, Aaron is there to do a job, and wants to get paid, so he keeps the camera on this guy. Plus, you also get the sense that as odd as Joseph is, Aaron thinks it will make a good portfolio piece, or at a minimum a good story. Aaron also happens to be a much bigger man than Joseph, so he could probably overpower him if he had to.

After “tubby time”, Aaron stumbles across a cheap Halloween werewolf mask in a closet, frightening him. Joseph puts the mask on, and to put Aaron at ease, he sings a nursery rhyme that his father purportedly sang to him, and dances an awkward jig. Yeah. That didn’t put ANYONE at ease. Again… very creepy. As the two of them continue on their day, with the camera rolling, Joseph offers up a series of confessions which shift the tone from eccentric oddball to dangerous stalker. Joseph’s expressions also shift wildly from impish boyishness to straight deadpan. Aaron’s fears are finally confirmed when he manages to talk with Joseph’s sister by cell phone who tells him to get away from Joseph, that Joseph does not have cancer, and does not have a wife or child on the way. Aaron and Joseph then have a throwdown, and Aaron indeed gets the better of Joseph.

Act three has Joesph now in full stalker mode, tracking Aaron down where he lives and sending him strange gifts and videos. Because Aaron did not properly get Joseph’s information, the cops are unwilling to assist. Clearly, Joseph, like his werewolf icon, is circling his prey and closing in. The ending itself, I found to be very abrupt, and initially satisfying, but a revelation at the end didn’t really sit well with me… insinuating a sequel to come, and indeed, Creep 2 came out shortly after this. I applaud Brice’s editing instincts. He takes huge advantage of the rough cutting that a found footage allows. The abrupt breaks and re-starts of the film have you wondering how much time has elapsed and has you mentally trying to fill in the blanks in a very satisfying way. Clearly teaming with Blumhouse, the House that Paranormal built, paid off. This movie had me cringing a lot, and the anxiety infused moments of the film were really unnerving. Scary? Mildly. Unsettling? Absolutely! Creep had me shouting at the television.

Let this be a warning to would-be videographers! Bring backup!

Creep is rated R, and is available on most streaming platforms. This is a pretty good gateway film, decent for nascent scaredy cats and I think it would be OK for 14 and up.

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Creep Reviews

It was obviously inspired by other two-hander horror thrillers, but this micro-budget, no-frills wonder gets the job done spectacularly, generating suspense through human behavior and threat.

Full Review | Original Score: 4/5 | Jun 4, 2024

It’s among the funniest and scariest horror-comedies of this century, blending mumblegore independence with a found footage aesthetic to create a destabilizing, unforgettable experience.

Full Review | Original Score: 4/4 | Oct 26, 2023

Anchored entirely by the likability of Duplass, one of the few horror-comedies that will keep you questioning the authenticity of whether to be disturbed or delighted by what you're seeing unfold.

Full Review | Original Score: 4/5 | Sep 20, 2023

An interesting, indie-minded horror, Creep’s simplicity adds to its effectiveness as a taught, jarring film.

Full Review | Aug 2, 2023

A deeply uncomfortable yet compelling viewing experience.

Full Review | Original Score: 4/5 | Nov 22, 2021

A simple found footage film that is considerably more complicated when unpacked through the lens of male relationships and gay panic. Hits a little harder/differently for queer audiences on social & dating apps.

Full Review | Original Score: 4.5/5 | Nov 17, 2021

Leave it to indie darling Mark Duplass and his regular collaborator Patrick Brice (The Overnight) to keep the found-footage horror movie kickin' 15 years after The Blair Witch Project.

Full Review | Oct 19, 2021

This movie is genius... and it just totally captivated me to the very end.

Full Review | Original Score: 9/10 | Jun 1, 2021

The extended coda feels superfluous, even in a movie that's only 77 minutes. It also pushes the suspension of disbelief past the breaking point.

Full Review | Sep 18, 2019

...an edge-of-your-seat chiller that does not necessarily need to overwhelm the audience's nervous system with grotesque tactics of torture to bring along the bloody chase of a detached thrill.

Full Review | Original Score: 3/4 | Nov 10, 2018

[Creep] simply has a few too many scenes stuffed with clichés when the general mood would have served the film much stronger.

Full Review | Original Score: 5/10 | Oct 24, 2018

Within its commercial framework, they're taking real chances - and 'Creep' is, in many ways, a puzzling character study in a found-footage horror movie's clothing.

Full Review | May 27, 2016

Funny and scary and surprising and everything found footage horror should be.

Full Review | Original Score: 4/5 | Apr 9, 2016

Though lean in running time, scale, and budget, Creep demonstrates its makers' masterful resourcefulness and spirited direction.

Full Review | Original Score: B+ | Mar 26, 2016

The chilling final stretch ultimately confirms Creep's place as a better-than-average horror effort...

Full Review | Original Score: 3/4 | Feb 24, 2016

A remarkable two-hander, scripted (and seemingly improvised) by its stars Patrick Brice and Mark Duplass.

Full Review | Sep 17, 2015

Creep is an exercise in the kind of unease we've all experienced.

Full Review | Original Score: B+ | Sep 17, 2015

Creep will tickle your funny bone and screw with your head - even as it rips your nerves to shreds.

Full Review | Original Score: 8/10 | Sep 2, 2015

Duplass's fantastically unhinged performance establishes what Brice fails to convey ...

Full Review | Sep 2, 2015

The film is remarkable, considering its minimal means and surprising lack of bloodshed, given the genre. Does it stay with you? A little.

Full Review | Sep 1, 2015

Creep (I) (2014)

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Reader's Choice

Reviews commissioned and selected by Patrons

Review by Brian Eggert June 17, 2024

People are strange. Spend any amount of time out in the world, and you’re bound to encounter someone whose particular brand of strangeness gives you the heebie-jeebies. Sometimes it’s a coworker with off-putting mannerisms, making you uncomfortable in an indescribable way. Sometimes it’s a serial over-sharer who, unprompted, tells you about problems in their most intimate relationships, or worse, a physical condition they want you to diagnose. And as much as you hate to admit it, sometimes a person might also just not look right—you can’t explain why, but they make your internal alarm bells start to ring. They seem nice enough, but they’re also a little off somehow, and you instinctively want to get away. That’s what the protagonist in Creep , a clever and unsettling film about a Craigslist encounter from hell, should have done. Conceived by Patrick Brice and Mark Duplass, and directed by Brice, the 77-minute Netflix film from 2014 has since become a minor cult classic. Fittingly so; it’s among the funniest and scariest horror-comedies of this century, blending mumblegore independence with a found footage aesthetic to create a destabilizing, unforgettable experience.

A videographer responding to an ad, Aaron (Brice) drives into the San Bernardino Mountains for a job promising $1,000, though the specifics of what he’ll be asked to shoot remain unclear. “Discretion is appreciated,” the ad requests, which would be enough to ward off most of us. Aaron is alone, save for his camera: his confidant to which he narrates his progress and often looks into for a reaction shot. When he arrives at the address provided, Aaron ascends stairs to a yellow door with a turn-crank doorbell and peephole, but no one answers. Though slightly unnerved by the axe stuck in a stump nearby, Aaron resolves to sit in his car and wait. All at once, Josef (Duplass) bursts onto the scene, startling Aaron at his car door. Garbed in black jogging gear and with a mischievous smile on his face, Josef declares, “This is going to be a good day,” and he proceeds to hug Aaron, promising that, by the end of the day, they will have bonded so much that a hug will hardly seem out of the ordinary (though it clearly is now). Watching this scene play out, we think, Geez, Aaron must really need the money . What kind of person shows up for a gig like this? The answer, of course, is that Aaron is another kind of creep.

Inside, Josef explains why he hired Aaron, and the story is heartbreaking enough that Aaron momentarily dismisses the weirdness that just happened. Josef has a brain tumor and may only have a couple of months to live. His wife Angela will soon give birth to their first child, nicknamed Buddy, whom he will never meet. So Josef asks Aaron to shoot a day-in-the-life video, modeled after the movie My Life (1993). Further dispelling any apprehensions, Josef gives Aaron the money in advance—so at least it’s not a scam. Then Josef announces, “I’m gonna get in the tub…” Wait, what? Josef races upstairs and starts peeling off his clothes. Sensing Aaron’s apprehension, he tells him, “We’re going to go a lot deeper places than this .” While Josef pantomimes Buddy’s first “tubby time,” which, for some reason, unfolds against romantic candlelight, the viewer cannot help but wonder: Is this guy sincere and just awkwardly open-hearted, perhaps as a result of learning that his life is ending in a few months? Or is he fucking with Aaron? And if so, to what end?

Duplass’ performance masterfully walks the line between menacing and earnest, maintaining the illusion that Josef might just be a goofball and nothing more. Duplass has such an authentic screen presence that you believe his story, or at least you understand why Aaron might, because the actor plays Josef as though he believes his lies in that moment. On a purely comedic level, Creep achieves unbearable, riotously bizarre laughs, including one that finds Josef using a stone to scratch “J+A” inside a heart on a large rock. Later, Aaron drugs Josef to mount his escape, and while passed out, the weirdo begins murmuring “Peachfuzz” and touching himself under the pants. And after Aaron escapes and returns home, Josef sends him packages. One of them is a box that contains a knife and a plush stuffed wolf—a gift so alarmingly odd that, much like Josef’s behavior, the only sane responses might be laughter or bafflement.

Creep is designed to be a hybrid of the mumblecore films Duplass makes with his brother, Jay, such as The Puffy Chair (2005), while also appealing to the audience usually associated with Jason Blum, whose production company Blumhouse began making horror movies in the 2000s with hits such as Paranormal Activity (2009). The Duplass brothers had already combined their knack for talky independent comedies with tormented scares on Baghead (2008)—not so much a straightforward horror film as an exploration of filmmaking and how fear lays bare our rawest selves. Propelled by handheld digital camerawork and two marvelously natural performances, Creep is less pure horror than a cringe comedy with disturbing undertones. The filmmakers concoct scene after unbearable scene of Josef’s behavior serving as a funny, albeit morbid warning sign of things to come—from Josef recording Aaron without his knowledge to his loaded question in the woods: “When you saw that axe… was there a small part you that thought I might kill you with it?” Later, the film transforms into an uneasy stalker yarn, with Aaron surviving his paid job only to have Josef begin taunting him with videos and packages sent to his home.

Brice and Duplass raise questions about our neighbors, the people we meet online, and those who would risk engaging with them. Creep doesn’t need a supernatural element or an unstoppable killing machine like so many slashers. The average person—or those who wear the mask of normalcy—is scary enough. So Duplass’ insidious character becomes instantly iconic, shrouded in a mystery that prompts the viewer to pose open-ended questions about Josef and his stories. Is there any truth to them, or has he completely fabricated everything? Either way, he’s broken in a way that we will never fully understand—the way anyone out there could be shattered inside, though we’d never know it. Our uncertainty turns Duplass’ otherwise pleasant screen presence into an everyman mask, no different than Michael Myers’ signature blank visage, in that both preserve the disturbing mystery of what lies beneath. That Josef need not wear a mask to conceal his identity is what makes him terrifying. It’s also what makes Creep such an essential horror film for today, and a grim look at humanity at its most peculiar and unsettling.

(Note: This review was originally posted to Patreon on October 24, 2023. )

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Creep (2014) Review

Time: 77 MinutesCast:Mark Duplass as Josef/BillPatrick Brice as AaronDirector: Patrick Brice Aaron answers an online ad and drives to a stranger’s house to film him for the day. The man wants to make a movie for his unborn child, but his requests become more bizarre as the day goes along. Most people are pretty mixed…

Time: 77 Minutes Cast: Mark Duplass as Josef/Bill Patrick Brice as Aaron Director: Patrick Brice

Aaron answers an online ad and drives to a stranger’s house to film him for the day. The man wants to make a movie for his unborn child, but his requests become more bizarre as the day goes along.

Most people are pretty mixed when it comes to found footage movies, and I admit I’m not the biggest fan of it, even though there are some great movies in that subgenre. Creep isn’t my favourite examples of it even in the horror genre, but it does utilise it decently.

Creep is a well crafted and creepy psychological horror. It is very intimate, and the fact that its being shot and approached as documentary footage make it feel real, and does generate a very tense atmosphere. It’s very uncomfortable and unpredictable, and it was one of the rare movies that gets under my skin. The quieter moments especially add to the unsettling feeling and mood. There’s even some surprising dark comedy, mainly in the first half. It is definitely a slow burn despite its small runtime of 77 minutes, and the steady pace does result in the momentum being lost. The scenes without Mark Duplass particularly aren’t as riveting as the scenes with him.

As far as performances go, it basically comes down to two actors, who deliver some great work. Mark Duplass is fantastic as the titular creep. Throughout the movie you don’t know how to feel about him, he’s hilarious, tragic, disturbed and scary. With his over the top friendliness and subtle sinister edge, he is unnerving yet compelling to watch. While it’s a pretty good movie, it really wouldn’t have worked nearly as well without him. On top of being the director, Patrick Brice plays the videographer and audience surrogate, who plays well off Duplass’s antics.

Patrick Brice’s directorial debut is pretty strong, and he really makes the most from a low budget. It really utilises the found footage aspects well, in a simple yet effective way. He clearly knows what to show and what not to show on screen, just enough to get you unnerved. The naturalistic feel makes you immersed in the movie, especially with much of it being filmed in first person. The lack of a soundtrack also adds to the uneasiness. A complaint I have is that it really could’ve done without some of the jumpscares.

Creep is a bit slow and occasionally too heavy on the jumpscares but is overall an effective and unsettling psychological horror. It makes great use of the found footage approach and benefits from great performances, especially from Mark Duplass.

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Home > movie reviews > creep, review by tom foster.

Kate (Franka Potente, "Run Lola Run", "Anatomie") is a high living German model living it up in London.

When a female friend bails out on her at a party, they were going to sneak into a bash for George Clooney(!), she rushes into the street to catch up with her.

Failing to grab a cab Kate rushes to catch the last train from the Underground subway, but she falls asleep on the platform while waiting for it.

Waking up she finds herself locked in the station and, after an unexpected brush with violence, at the mercy of a mysterious killer (the 'Creep' of the title, played by Sean Harris) who haunts the Underground tunnels!

Fleeing for her life Kate meets a young homeless couple, Jimmy (Paul Rattray) and Mandy (Kelly Scott), and together they try to survive the twisted creature that is hunting them...

Christopher Smith's feature debut gets high marks from the outset by choosing to use the criminally ignored London Underground (track length wise the biggest in the World) as it's setting.

He's also the first Brit filmmaker to use it as an effective Horror movie setting, as the only other examples that I can think of (The classic "An American Werewolf in London" and the cult gem "Death Line"/"Raw Meat") had an American at the helm.

There is also a drop of the U.S. made, sewer based, monster flick "C.H.U.D" in the mix via the addition of the homeless characters.

The setting does open a few logic problems though during this modern age. The mass CCTV coverage on the Underground nowadays means there is little chance of Kate ever being left on the Station to be locked in, nor does it make the idea of a supposedly unknown killer really work as quite frankly he would have already been picked up on any number of cameras well before our movie plot begins.

Smith does bring in CCTV during a later sequence (so he does not completely ignore it's existence) but this just hammers home the fact that the 'Creep' would have been spotted a long time ago.

But as I generally liked "Creep" a great deal I shall dispense with the other negative (basically all 'plot' based) aspects here and now.

There is rather a large contrivance in getting Kate into the Underground for starters, as she certainly would have spent longer hailing a cab than the 3 or 4 seconds she tried for. She had a good 15 minutes or so to catch the last train if all else failed, so a few more tries would almost certainly have got her a cab and thus avoided the whole need to use a train anyway. But hey, then we'd have no movie!

The biggest confusion as far as 'Creep' himself goes is the uncertainty of exactly how long he has been up to his murderous tricks. Given the way he casually leaves blood trails in public access areas of the Underground and kills very high profile characters (job wise, like the train drivers) during the screenplay's timeframe it would seem that his killing must be a new event, as his handy work (as well as the missing people) would have been noticed before, or else he's suddenly got VERY sloppy while hunting Kate.

The former reason is shown to be untrue as various revelations and sights show 'Creep' has been killing for a long(ish) time, whereas the latter reason is given no logical explanation.

The film also suffers (though only slightly) with the time spent on Kate's troubles before her run-in with 'Creep', the lean 81 minute running time means that the time could have been better used during the movie's second half.

But basically these aspects are all that is wrong with "Creep" (despite the overly harsh reviews you will find elsewhere on The Net) and Smith has generally given us a full blooded Horror flick that delivers on what it promises and is certainly a better 'Psycho/Slasher' effort than the dismal attempts seen after the success of "Scream" and more recent turds like "Wrong Turn".

Using seamless transitions between studio sets, German sewers/catacombs and London's Underground itself the superb (especially on such a low budget) Production Design (John Frankish) and Cinematography (Danny Cohen, "Dead Man's Shoes") combine to create one of the most atmospheric and best looking fright fests for a long time.

The compositions are suitably dark but thankfully never to the detriment of detail and the various locations are not only well designed but also well chosen so as to add visually interesting transitions between locations.

The use of the real London Underground and it's trains also means there is a lot more 'money' on screen than the budget would otherwise allow and for any viewer who has used the Subway system the real locations/setting will be a huge (and welcome) plus.

Contrary to much of the criticism the film received, I for one found many of the characters perfectly likeable and/or open to redemption.

It is vital to the character's 'journey', as the events unfold, that Kate is at first slightly arrogant and seemingly above all the petty worries of the less fortunate folk around her. Smith carefully moves her into situations where she must face and rely on people that she would never normally bother with or care for (as in a great early comment, "This gives notes, try sitting outside a phone box", to a beggar by a cash dispenser who asks for change) and in fact she will 'evolve' into a far more caring and selfless person as her trials intensify. Franka Potente herself does a perfectly adequate job as well and is suitably frantic during Kate's run-in's with the 'Creep'.

Paul Rattray gives a solid performance as Jimmy and despite the character's social status and 'lifestyle' he is shown to be friendly, helpful and to have a far more loving relationship with the frail Mandy (a nice little turn by newcomer Scott) than anything or anyone seen in Kate's vapid social circle.

As the 'Creep' Sean Harris pulls off some fun body movements (his character is basically mute except for a delightfully weird screech) and offers some wonderfully effective moments of blackest humour and general weirdness, a shot of him exiting an air vent by hanging by one arm is a real visual treat. He is also helped by an excellent make-up design and a very realistic (a few latex creases aside) body suit that delivers the essential grotesque deformities.

There is perhaps too much left unsaid about 'Creep's' back-story (see above for some examples) and much conjecture is needed on behalf of the audience, but it's pretty easy to figure out his origin and tragic existence and on the whole he is an effective new killer in the Horror cannon.

Lastly, there is a fun turn (as always, see "Lock Stock and Two Smoking Barrels") by Vas Blackwood as a reluctant sewer worker, who adds a dash of humour (in an otherwise thankfully comedy free movie) but also has the essentially straight back-story of doing the unpleasant job to look after his young Daughter.

Gore wise we are given a few brief but effective moments during the first half of the film (with some very 80's, Italian style Horror editing where Smith cuts back to a death scene to deliver more violence after initially leaving it) and some far more bombastic and violent sequences during the second half.

The 'surgery' sequence is the main bone of contention for many viewers, with poor sensitive viewers hating it and fully experienced Exploitation fans loving it. This is the only time that Smith truly wallows in a victim's terror and the circumstances and set-up add a genuinely disturbing (even obscene, though there is nothing wrong with that in this type of plot-line) element to the events. It's grotesquely nasty for sure but it also (via some black-comic actions by 'Creep') tells us much about the dementia that pollutes the killer's grasp of reality as well as showing us that he is simply acting out horrific sights that must have crowded his childhood.

Smith's direction may not be perfect pacing wise, but he makes some excellent choices. The full appearance of 'Creep' as his face materialises from the darkness is very well handled, the opening titles set-up the grotesque set-up nicely, there are some well crafted 'jump' sequences and the choice of leaving behind the 'chased would-be-victim' set-up of the first half of the movie (which sure enough starts to wear thin by this time) to instead concentrate on 'Creep' and his lair was a perfect move and adds fresh energy to the film at just the right time.

The finale also delivers a 'twist' (sort of) that leads us almost full circle and ends the movie on a lesson brutally learnt.

Add to all this some highly effective music and warped soundscapes by 'The Insects' (for example a sequence involving 'Creep' looking at the genuinely sad sight of foetus's in jars, is made even more disturbing by the addition of the distorted cries of babies on the soundtrack) that compliment the on-screen events well and you ultimately have a Brit Horror movie that is an atmospheric, well made, interestingly located, nasty little treat that just needed tightening up in the logic department.

A well priced R2 DVD from Pathe/Fox means that if you missed "Creep" at the cinema you can pick it up for home viewing in a well put together package, and I recommend you do just that.

Reviewed by 42nd Street Freak

Creep is a 2014 found footage horror film directed by and co-starring Patrick Brice. This is Brice’s feature directorial debut and he is lucky enough to work with Mumblecore legend Mark Duplass. These two are the only two actors in the film. The film is entirely told from the perspective of Aaron’s camera, creating three perspectives, despite there only being two actors.

Building uncertainty: Patrick Brice plays Aaron, an independent videographer looking for a quick buck. A Craigslist ad offers to pay him $1,000 to simply record an anonymous person for the day. Aaron has no idea what to expect, therefore, the audience has almost no idea what to expect. He first contemplates that maybe an older woman is looking for a good time, but this isn’t the case. Instead, Josef (Mark Duplass) is on the other end. As usual, Duplass is incredibly charismatic, but in this film, he adds a tinge of uncertainty.

Hard to define horror: The horror genre has been reblooming over the past few years. Many films have succeeded in changing what we think of the genre. This film is no different. This film truly lives up to its title, it’s just creepy. It’s not scary in a traditional sense, it borders on comedy and parody a lot of the time, but it is disturbing. Giving the audience the same point of view as Aaron brilliantly allows the film to unveil what is really happening. You never know for sure until Aaron knows for sure. You speculate about what’s happening with him. Uncertainty is what makes horror what it is.

You are the last character: Steady-cam or found footage is often a criticized form of cinematography, as it should be. Sometimes it feels like a lazy way to put the audience in the film, but it becomes more distracting than anything. This film uses steady-cam as a game, and it does so brilliantly. The camera is being controlled by a person who is in a weird situation and the camera is following the person causing the weird situation. It’s the perfect way to utilize the style. Aaron is trying to figure this out as you are. The film rarely cuts during a scene, allowing an almost unfiltered view of Aaron’s experience. You see the situation from your own perspective through Aaron’s camerawork. Horror films love to create an atmosphere of immediate fear; is the murderer in that bathroom, is the monster around the corner, etc. This movie takes that aura and makes it a mystery. What the f--- is happening is more prevalent than when is the next horror moment. The audience doesn’t really know what’s happening until the end. This makes a second viewing so much fun. You know where the weirdness is, where the deception is and you can truly appreciate what the brilliant Mark Duplass does.

Another fantastic film in the revival of creative horror. Duplass and company continue to show that you don’t need a big budget to make a brilliant genre-altering film.

Watch Creep via Amazon

GAMES, BRRRAAAINS & A HEAD-BANGING LIFE

Horror Movie Review: Creep (2014)

“I love wolves. Because they love deeply, but they don’t know how to express it, and they’re often very violent and, quite frankly, murder the things that they love, and inside of the wolf is this beautiful heart.”

Creep is a 2014 American independent found footage horror film directed by Patrick Brice, based on a story written by Brice and Mark Duplass. The film, which is Brice’s directorial debut, also stars both writers as Aaron and Josef, respectively.

Aaron (Patrick Brice) is an optimistic videographer who decides to come and work for Josef (Mark Duplass) after answering his ad on Craigslist. All Aaron has to do is record Josef throughout the day and remain discreet about the entire setup. Josef tells Aaron that he will be recording a series of videos for his unborn son, as he is dying from a terminal illness and will never be able to see him grow up. Aaron first records Josef in a bath tub pretending to give his son a bath, and is then asked to come hiking with Josef.

While getting a jacket, Aaron is startled by a wolf mask in the closet; Josef tells him that his father used to wear the mask and pretend to be a friendly wolf named Peachfuzz. Aaron accompanies him with the video camera. Throughout their time together, Josef repeatedly scares Aaron, excusing his behaviour by claiming he has a “weird sense of humor”. At a restaurant after their hiking trip, Josef admits to Aaron that he had taken photos of him before they met, as he wanted to get to know Aaron before meeting him; he apologizes profusely. He also says that Aaron has an “animal in him”, as he looks ready to kill Josef when Josef scares him.

As Aaron gets ready to leave that night, Josef asks him to stay for a drink of whiskey. He asks Aaron to turn off the camera; Aaron shuts off the video but leaves the sound on. Josef tells him he lied about Peachfuzz, and he wore the wolf mask in order to rape his wife and confirm his suspicions about her animal pornography habit. A now-unsettled Aaron drugs Josef’s whiskey then lays him to sleep and takes his phone, which suddenly starts ringing. Aaron hides and answers it; it is Josef’s “wife”, who tells Aaron that she is really just his sister, and that he needs to get out of the house as soon as he can.

Returning to where he left Josef, Aaron finds him gone; he searches for Josef, who scares him once again and tells him that he doesn’t want to die before running off. Aaron attempts to leave through the front door, but Josef blocks it with the Peachfuzz mask on. Aaron charges at him, and the camera shuts off.

When the video resumes, Aaron reveals that he escaped the house and made it home, but he soon received a DVD in the mail from Josef of him burying some bags in the yard; Aaron thinks it is meant as a threat. He has also been having terrible nightmares about Josef. Josef sends him a large box with a knife and a stuffed wolf in it, as well as another DVD with a video of Josef apologizing for the last video and saying that he really cares about Aaron. Aaron rips open the stuffed wolf, finding a locket with Josef’s and Aaron’s pictures in it, which he throws away. After getting no help from the police, Aaron hears a trash can fall one night, and as he investigates his home, Josef appears at the front door.

Days later, Josef takes the camera and films Aaron while he sleeps. Aaron finds another DVD labelled “My Last Video” in his house. Josef, in the video, apologizes again, reveals that he found the locket in Aaron’s trash, and asks Aaron to come to the public lake by his house to “give them closure”.

Can Aaron give Josef a chance to make amends? Watch and find out…

I’m seriously not a fan of found footage films, in general they look bad due to the “shakey camera” effect and have an abundance of needless jump scares. Well, Creep followed a similar pattern but used the classic found footage tropes in a different way. For example, most (if not all) the jump scares were Josef fooling around and being obnoxious. Every time he jumped out at the screen he would laugh as if he’d “got” Aaron (or us the audience). As irritating as it was I believe that works better than trying to seriously scare a person with jump scares, which do nothing but startle and annoy. I enjoyed Creep for what it was and while you’re watching it it’s impossible to not be appalled by Aaron’s polite and accepting attitude. After several incidents you come to believe he must be an idiot. But, on reflection after finishing the film I’ve come to think of the entire situation in a different way. One of the writers said that “for me, there’s something wrong with both of these guys. Deeply. This concept of, ‘who is the creep in this scenario?’” After reading that, I started to think about each character and how Aaron’s acceptance and lack of questioning can be seen in a different way. Perhaps he’s also a weirdo. I mean, why else after each trying and sometimes terrifying moment would he stick around. Overall, this film has a creepy and uneasy atmosphere that grows as it continues on. It’s clear that something isn’t right and the story unfolds at just the right pace. One aspect of Creep that will forever be burned into my nightmares is Peachfuzz, even the name of that mask makes me shudder.

Editor/Writer - Stay at home mum educating the horror minds of tomorrow. If it's got vampires or Nicolas Cage in it, I'm sold. Found cleaning bums or kicking ass in an RPG. (And occasionally here reviewing all things horror and gaming related!)

The Final Score - 6/10 6/10

User Review

Creep 2014 & Its Sequel, The 2 Best Found Footage Films Ever

Consider both Creep 1 and 2 amongst the best-found footage movies ever. The Duplass brothers, Mark and Jay began their careers making short films. This gave them a name in the film-making business. Creep movie was released in 2014, bringing to life Peach Fuzz, a guy in a wolf head costume. In this Creep movie review, I have included the Peach Fuzz Creep movie song lyrics. The Creep sequel followed in 2017. Both films are independent productions utilizing POV techniques often hated by audiences.

With Patrick Brice as director, both Creep movies have become my firm favorites. I’ve even sourced the lyrics to the Peach Fuzz song, especially for you.

Creep 2014 Storyline

Aaron is a videographer who sees a want ad on Craigslist. After being hired by Josef for one day to make a film for his unborn child, Aaron becomes increasingly aware that something isn’t right. As the day wears on, Aaron must decide to either finish the job or leave early when Josef’s behavior becomes stranger and stranger. But can he leave?

Director: Patrick Brice

Writer: Patrick Brice and Mark Duplass (one-half of the Duplass brothers.)
Date of Release: March 2014.
Found footage horror
Budget: Shoestring

Creep 2017 Storyline

Sara is trying to get her big break with a YouTube series “Encounters.” ‘Encounters’ involves Sara answering Craigslist ads from people requiring friendships and connections. After answering an ad from a man called Aaron, who will pay a large sum for a videographer for a one-day job. As the day continues into nightfall, she begins to wonder whether his confession is more than just a fantasy. Will this be the big break she is looking for or has she bitten off more than she can handle?

Creep Movie 2014 Review

Josef is played by Mark Duplass who I earlier pointed out is one-half of the Duplass brothers. Josef needs a videographer and begins the recruitment process to hire one. Why does he need someone to film his day-to-day life? His wife is pregnant and Josef has a brain tumor. What better way to be remembered than to obtain some footage for the little tacker? As outsiders looking in on Aaron in his quest to live on in the film, we barely see him. Angles used in the footage and the scenes give us first-hand knowledge of exactly what the secretive cameraman is up to.

Creeps’ director, Patrick Brice (who plays Aaron) steers the found footage element to arouse fear, astonishment, or pure bewilderment through the lens.

Throughout the film , it’s the small details that lead you down a path of skepticism. The odd behavior and the information dripped and dropped by Josef. The casual appearance of a wolf-masked man called Peachfuzz makes you prefer to think the brain tumor is responsible for all this weird behavior.

Scariest Found Footage Movies Ever

Josef’s portrayal of less is more comes across with finesse and depth. The less we know about him, the more it’s easy to assume he’s not only an eccentric but pushed into an even weirder dynamic because he is dying. Superficially, Josef is building rapport with his hired cameraman, Aaron. It’s impossible that Aaron is in danger right? What Josef thinks is funny coupled with trips into the woods shows Aaron his personality. He spruiks confessed ‘humorous’ scare attempts. Somehow though, his increasingly erratic behavior brings us no closer to understanding what his true motives are.

The Creep movie is perfectly orchestrated to give a maximum tension-filled atmosphere. Slow-burn movies are known for slacking off when it comes to the big payoff at the end, but my favorite part of this film is the final quarter. I sat—slack-jawed and wide-eyed as an ending played out.

Creep Movie 2014 is rated

4.5 chalk love hearts on a rock out of 5.

Peach Fuzz Lyrics – Creep Movie Song

For more information on the Duplass brothers, check out this wiki page.

“Hello, Hello Hello, My name is Peachfuzz, I may look like the big bad wolf, but I got the heart of a lion And I’d like to be your friend Hello, my name is Peachfuzz I may look like I’ll eat you up, but I got the heart of a rabbit And I’ll make a very good friend Peachfuzz, I am here Let’s sit down and drink a beer Peachfuzz, I am here There’s nothing to fear Hello, Hello Hello, Hello” — Peach fuzz lyrics performed by Little Wings and written by Mark Duplass and Kyle Field

Creep Movie Trailer

Creep 2 Review

Right from the opening few seconds of Creep Movie 2, I was overcome with a sense of dread. Dave (played by Karan Soni) receives a package housing a DVD. In the first movie, the DVD plays an important role in laying out the final reveal (no spoilers here.) As viewers, we know that Dave is in big trouble. He goes through the motions of trying to figure out what is going on and seeing the film through the camera hidden in packaging from his delivery allows for a voyeuristic set-up to watch the scene unfold.

Killer on the Loose in a Peach Fuzz Mask

It’s only when Duplass enters the scene, dressed in his signature all-black clothing, that I get goosebumps. Dave calls the man, Aaron, and if you watched the first film, you’d remember Aaron was Josef’s filmmaker. Aaron emerges as someone with an air of indifferent charm.

After Aaron leaves David, he goes on to find another videographer. Aaron chooses Sara (Desiree Akhavan) and hires her to film him. Aaron however, has a new confession to make. Gone are his brain tumor and pregnant wife and in its place is a new story, one that makes Sara think this job might just be the break she is looking for.

Under the guise of friendship, the two get to know each other. Sara wants internet fame, the type you get with a story like this from a baffling fantasy-bound man. Has Sarah found a love match with Aaron in her quest for fame?

P atrick Brice is the director of both films, he said Creep 2 was not intended to be a horror movie. Could this be taken as a romantic comedy? I think yes! He took inspiration from Michael Haneke’s Funny Games and it’s easy to spot slight inflections if you’ve seen both films. For example, Duplass will look into the camera and smile, just as Paul did in the 1997 shocking horror movie. Both horror movies are available on Netflix.

For Creep movie 2, again I loved the ending. There’s nothing more satisfying than a great ending to a great movie . For a low-budget independent film, Creep 1 and 2 are both interesting story-wise and can create a foreboding climate that trickles down your spine as the penny drops.

Creep Movie 2 is rated

4.5 hidden pocket knives out of 5.

Date Created: 2017-10-23 00:05

If You Want A Unique Horror Recommendation, Watch The 'Creep' Movies

Senior Entertainment Reporter, HuffPost

In the years since “The Blair Witch Project” popularized found-footage theatrics, filmmakers have stretched the genre to its limits. After half a dozen “Paranormal Activity” installments, the mini-phenomenon that is “Cloverfield” and a score of interchangeable stories about devilish encounters and digital transgressions, there’s not much in this format that hasn’t been aped ad nauseam.

At least one recent addition rises above the clichés: “ Creep ,” the brisk indie conceived by Mark Duplass and director Patrick Brice (“The Overnight”). Currently available on Netflix , the movie premiered in 2015, inaugurating a trilogy whose second installment, “ Creep 2 ,” premiered Tuesday on VOD platforms. (It, too, will soon hit Netflix.) “Creep” and its sequel twist the documentary-style voyeurism that characterizes found footage. No one merely happens upon unlikely horrors, nor does anyone set out to chronicle expected encounters with the supernatural. The characters double as the movies’ auteurs; they personify the audience’s anxiety.

It’s a welcome guise, as the conceit implicates the act of filmmaking. An ominous man (Duplass) hires videographers via vague Craigslist advertisements. The movies unfold from the vantage of a single amateur documentarian, sent to a remote cabin ostensibly to capture a day in the life of his or her employer, a boundary-deficient charmer who calls himself Josef. In the first “Creep,” Brice plays the summoned filmmaker, Aaron, there to record a video diary for Josef’s unborn son; in the second “Creep,” Desiree Akhavan (“Appropriate Behavior”) takes over, portraying Sara, the host of a little-seen web series that profiles lonely men.

Throughout Aaron’s nightmarish experience, during which Josef coaxes him to crash overnight at his rustic chalet, we are privy to Josef’s psyche only as it exists through Aaron’s camera lens. Our apprehension builds alongside his. Is Josef a chronic liar? An unstable murderer? A harmless charlatan? Something else altogether? By the time Sara enters this weirdo’s orbit, we know the answers to those questions. Keeping things interesting, Josef ― this time using a different moniker and disclosing his supposed childhood biography ― informs Sara of his motive upon her arrival. The tension instead boils around whether she will believe him. As the ordeal grows odder, she gives herself a pep talk in the bathroom: She’s there to revive her floundering web series, and here’s the perfect subject. Why flee now, simply because he could be a dangerous lunatic?

With a low-budget ease, the “Creep” series works because it’s pristinely calibrated and fastidiously acted. The videographers are more heard than seen, so the terror stems from disembodied voices rounding dim corners and navigating head-scratching scenarios. As viewers, we probe whether we would respond in kind. (Josef’s vulnerability and charisma convince Aaron to trust him despite Aaron’s car keys having gone missing. Sara agrees to hike with him at night even though he’s threatened to make her witness to his suicide.)

“Creep 2” doesn’t thrive the way its predecessor did. The audience’s familiarity with Josef’s demented sense of humor reduces the sting. Yet it’s still worthwhile, stretching beyond the confines of a typical horror narrative. Duplass’ uncanny mania carries these movies so handily that the chief found-footage quandary ― why anyone would keep filming amid danger; a camera seems like an impediment to self-defense ― almost vanished. These are experienced videographers, after all. If this dude’s a cad and they make it out alive, better have some footage to show for it.

As the internet swarms to assemble its annual lists of horror recommendations, I nominate the “Creep” flicks as an under-appreciated double feature. Did Brice and Duplass need to make this sequel, or its forthcoming follow-up? Probably not. But, together, they make for excellent home viewing, the lights dimmed and your voyeuristic claws gripping the cushions.

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‘Creep’ and the Horror of the Subtle Psychopath

One of the most disturbing villains in recent memory is not a masked lunatic or a nefarious demon, but rather a seemingly innocuous Craigslist user. His name is Josef, and he can be found in Patrick Brice’s deeply unsettling found-footage movie Creep . Played by Mark Duplass, the character does not do anything overtly malicious for the majority of the picture’s runtime, but his unusual behavior and passive-aggressive comments become as terrifying as the actions of a chainsaw-wielding maniac. Through Josef, the film examines the horror of the subtle psychopath.

In Creep, Patrick Brice plays Aaron, a freelance videographer who responds to a Craigslist ad for a one-day assignment in a remote mountain town. That sounds like the setup for something sinister, and Aaron is skeptical from the get-go, especially when he shows up at the prearranged time to an empty house. Soon enough, though, Josef arrives, and he’s not some sort of obviously evil man running towards Aaron with an ax. Rather, he comes across as a normal dude getting back from a run, although there’s something off that we can’t quite identify. One of the first comments Josef makes to Aaron is, “You have a really nice, kind face.” Huh. That’s kind of bizarre to say to a stranger, right? Is Josef super friendly but a bit awkward, or should Aaron be worried? We expected his intentions to be pronounced straightaway, but so far that is not the case.

Our initial apprehension fades away after a few minutes with Josef, who explains that he’s a cancer survivor who was recently diagnosed with a brain tumor and has two months to live. His wife is pregnant, so he has hired this videographer to record a tape for his unborn son. In case he is not able to successfully combat the tumor, Josef wants his son to know what his father was like; he and Aaron will spend the day together capturing as much footage as possible. This situation is compared to the 1993 film My Life, in which Michael Keaton plays a terminally ill man making home movies to be given to his child. When Aaron decides he’s down for the job, Josef smiles and says, “I thought you were going to run away.” We feel bad for ever doubting Josef’s motives, and we want to give him a hug and tell him it’s all going to be okay.

Moments later, everything gets weird again. Josef says he’s going to get into the tub, and he invites Aaron to come in with him. Hang on…what? He wants a total stranger to film him taking a bath? Maybe he’s just an incredibly open person who doesn’t understand why that would make Aaron uncomfortable. Could that be it? Our opinion swings right back around as Josef says that he used to take baths with his dad as a child, and we breathe a sigh of relief. The initial invite into the bathroom was awkward, but when put into the context of a dying father who realizes he may never give his baby boy his first bath, it makes more sense.

This first act of Creep is a constant tug-of-war of emotions, as Patrick Brice revels in ambiguity and ensures we never know what to make of Josef. Is he literally about to break out an ax and chop Aaron’s head off? Or is he a lonely guy looking to make friends before death but who sometimes unintentionally drives them away? Both scenarios are equally plausible, so even during seemingly unimportant dialogue sequences, we never feel fully secure. Many found-footage movies waste the audience’s time with excruciating filler, but every millisecond of Creep speaks volumes.

As we soon learn, one facet of Josef’s peculiar personality is what he describes as his strange sense of humor. He’s always scaring Aaron just to amuse himself, such as when he sinks into the tub pretending to contemplate suicide before jumping up and screaming. Who does that? Later, he runs away from Aaron in the woods, only to sneak up behind him for a scare. This could be interpreted as the actions of a psychopath who is testing exactly how far he can push his victim before they snap and who is working himself up to finally strike. But it could also be that Josef merely has poor people skills and does not register that Aaron isn’t enjoying the humor. Because Josef appears to be so unassuming, Aaron can’t justify voicing major objections, and the cycle continues.

Josef also really overshares throughout the film, creating uncomfortable situation on top of uncomfortable situation. It starts with the bath scene, but there’s also the fact that he’s frequently making physical contact with Aaron when they don’t know each other. He often goes in for hugs, and during one dialogue scene, he begins rubbing Aaron’s arm, a gesture that’s really only appropriate in a close relationship. At lunch, when Josef apologizes for secretly taking pictures of Aaron, he says he wouldn’t have done it if he knew Aaron then the way he knows him now. He’s speaking as if they are suddenly friends of several decades rather than two people who met literally one hour ago. The hesitation in Aaron’s voice is easily perceptible, but he holds back and does not want to hurt Josef’s feelings.

For the majority of Creep , every unacceptable action Josef takes has an alternate explanation that makes us reluctant to judge. He scares Aaron in the bathroom, but then that’s because he was trying to lighten the mood. He takes pictures of Aaron without his knowledge, but then he profusely apologizes and says he did so because he was nervous about meeting a stranger. There is always just enough to rope Aaron back in and prevent him from running away.

It finally becomes clear that Aaron is in danger when he speaks with Angela over the phone, and the film reveals Josef’s entire story has been a lie. Angela, who is actually Josef’s sister and not his wife as previously stated, explains that her brother “has a lot of problems.” Even now, then, Aaron isn’t confident in what he’s dealing with. After Aaron escapes, Josef begins sending him packages in the mail, one of which contains a heart locket with pictures of the two of them. Josef is now quite definitively an unstable man who has gone full stalker, but does he have murderous intentions? To what extent is Aaron at risk?

The situation is horrifying regardless, and that is precisely because of the uncertainty. Villains are scarier the less we know about them, which is why it’s best to keep their backstory vague. Yet even with an enigmatic character like Michael Myers in the original Halloween, it’s still obvious that he’s the antagonist. We can point to the killer as being objectively evil and more like a monster than a man. Creep is so frightening because it suggests that identifying real-life monsters is rarely as easy as it is on screen. They don’t provide us unmistakable warning signs or bare the mischievous appearance of a Disney witch. In our world, outside the context of a three-act narrative and self-evident character roles, determining who might wish to do us harm is distressingly tricky.

In fact, most of us probably know someone like Josef in the first act of Creep. They’re outgoing and friendly, but they’re also a bit too open and they frequently invade the personal space of others without sensing resistance. They make jokes that leave their peers feeling extremely uncomfortable, justifying this as an example of their “weird sense of humor.” They’re always pushing people to see how much they will tolerate, instantly offering an apology when the behavior is questioned while never altering it in any way. Are we describing someone who is difficult but harmless, or someone who is dangerous and should be avoided at all costs?

We may not know the answer until it’s too late, as is the case with Aaron. Josef’s final move is to send Aaron a tape explaining that he has been pretending his whole life and has burnt every bridge, but all he really wants is a friend. In reality, this is merely yet another act of manipulation on Josef’s part, but Aaron isn’t convinced that this is the case. Despite dozens of red-flags, he wants to believe that Josef is kind at heart, and so he arrives at Lake Gregory willing to give him another chance. Ultimately, this trusting nature is his downfall.

No matter how cynical we might purport to be, most of us are very much like Aaron. We want to believe that others are fundamentally good in spite of their flaws. That person who has been treating me badly, we tell ourselves, is simply confused and imperfect, so they deserve a second chance…and then a third chance, and a fourth chance. We need to be cautious of the kind of over-the-top nutcase on display at the cinema, but not of seemingly average people. Right?

Unfortunately, real villains don’t wear crazy costumes or masks; they blend seamlessly into society, and their motives are just ambiguous enough for our guard to be lowered. That doesn’t mean we should live in a constant state of paranoia, but as Creep concludes, we ought to be as wary of emotionally abusive, toxic individuals as we would be of a Freddy Krueger or a Jason Voorhees. If only they were as easy to spot.

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5 Deep Cut Horror Movies to Seek Out in July 2024

New month, new horror recommendations from Deep Cuts Rising . This installment’s five selections reflect the month of July 2024 .

Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.

This month’s offerings include a snake thriller, a giallo, and more.

Death Walks on High Heels (1971)

Directed by Luciano Ercoli .

For fans, July is dedicated to gialli. And one giallo that doesn’t come up too often in discussions is Death Walks on High Heels ( La morte cammina con i tacchi alti in Italian). After Nieves Navarro ‘s character’s father — a jewel thief — is murdered, the masked assailant comes after the daughter. The protagonist flees to England, however, her pursuer won’t stop until he gets what he seeks.

Death Walks on High Heels never quite reaches the heights of its contemporaries, yet the twisty story, small bursts of style, and a potent third act make Ercoli’s movie enjoyable.

Death Walks on High Heels is now streaming on SCREAMBOX .

Of Unknown Origin (1983)

Directed by George P. Cosmatos .

This entry works for Ratcatcher’s Day (July 22) and Paperback Book Day (July 30). Of Unknown Origin is based on the novel The Visitor by Chauncey G. Parker III, and the movie stars Peter Weller of RoboCop fame. Shannon Tweed also had her acting debut here. The story follows a father and husband (Weller) who stays behind in his family’s brownstone as his wife and son go on vacation. What should have been a productive time soon becomes an all-out battle once the main character learns he has a rat infestation and goes to great lengths to wipe out the vermin.

While Of Unknown Origin is more of a laser-focused psychological horror story than a typical creature-feature, it does contain intense man-versus-beast action. Weller’s performance can be praised as well.

Catch Of Unknown Origin on VOD sites like Prime Video and Apple , and it’s also available on Blu-ray from Shout! Factory.

Fair Game (1988)

Directed by Mario Orfini .

The Italian-made thriller Fair Game (also known as Mamba ) is suitable for World Snake Day (July 16). This cat-and-mouse movie pits a woman ( Trudie Styler ) against her ex ( Gregg Henry ) as well as a highly venomous mamba. The main character is trapped in her apartment with the creature, who has been been made more aggressive for this special occasion.

Although this movie has pacing issues, and the high concept would better serve a shorter feature or even a segment of an anthology, it does manage to brew some suspenseful moments.

Fair Game is now streaming on Tubi .

The Paperboy (1994)

Directed by Douglas Jackson.

While The Paperboy brings up Boston, this is, in fact, a Canadian production. Marc Marut plays the titular 12-year-old whose paper route includes murder. He soon target his latest victim’s daughter, who is played by Christine co-star Alexandra Paul .

The Paperboy won’t likely replace The Good Son or Orphan as everyone’s favorite “killer kid” movie, but the sinister atmosphere and (unintentional) humor help it stand out. House star William Katt also supports Paul and Marut here, with the latter’s performance being truly wild.

Looking for Canadian horror for Canada Day (July 1)? The Paperboy is now on Prime Video .

Estranged (2015)

Directed by Adam Levins .

Estranged demonstrates how dangerous it can be to forget the past. Amy Manson ‘s character is returned to her family after a bad accident while living abroad. She uses a wheelchair for the time being, and her memory is affected. As she reunites with her family though, the main character can’t help but feel like something is “off” about them…

This dark British movie can be viewed on I Forgot Day (July 2). It sports enough shocks to make it memorable. Estranged is now streaming on Tubi .

No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising , comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.

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Creep Review (2015) Review with Ending Explained

The Review (Spoiler Free)

“Creep” is a film that stands out in the found-footage genre, delivering a chilling and intimate portrayal of psychological horror. Directed by Patrick Brice and starring Mark Duplass , who also co-wrote the story, “Creep” takes viewers on a disturbing journey through the lens of a videographer named Aaron, played by Brice himself.

“Creep” is a film that stands out in the found-footage genre, delivering a chilling and intimate portrayal of psychological horror. Directed by Patrick Brice and starring Mark Duplass, who also co-wrote the story, “Creep” takes viewers on a disturbing journey through the lens of a videographer named Aaron, played by Brice himself.

The premise is simple yet effective: Aaron responds to an online ad to film a man named Josef (Duplass) for a day, under the pretense of creating a video diary for Josef’s unborn child. However, as the day progresses, Josef’s behavior becomes increasingly bizarre and unsettling, leading to a series of events that blur the lines between reality and paranoia.

What makes “Creep” particularly engaging is its minimalistic approach. The film relies heavily on the performances of its two leads, and both Brice and Duplass deliver in spades. Duplass, in particular, gives a fantastically unhinged performance that captivates and terrifies in equal measure. His portrayal of Josef is both charismatic and creepy, making the audience question his motives at every turn.

The film’s strength lies in its ability to maintain tension and suspense with very little. There are no grandiose special effects or elaborate sets; instead, “Creep” uses its simplicity to create a sense of claustrophobia and unease. The found-footage style is executed with a level of authenticity that makes the viewer feel like a participant in the unfolding horror.

Critics have praised “Creep” for its smart take on the genre, noting its cleverness and the skillful acting that keeps viewers on edge. The film has been described as a puzzling character study wrapped in the guise of a found-footage horror, taking real chances within its commercial framework. It’s a testament to the film’s effectiveness that it remains disturbing and unsettling without resorting to excessive gore or cheap thrills.

“Creep” also stands as a commentary on the nature of trust and the search for connection in the digital age. The film explores how easily one can be drawn into the orbit of a charismatic stranger and the potential dangers that come with it. It’s a modern-day horror tale that resonates with contemporary fears about privacy, identity, and the unknown depths of the people we meet online.

Spoiler Ending (Spoiler Warning!)

The ending is compelling. The protagonist, Aaron, realizes that Josef is unstable, allowing him to escape. However, Josef tracks him down and requests a final meeting to apologize for his strange behavior. Aaron, being kind-hearted, agrees to meet. They choose a public area by the lake. Aaron arrives first and waits. Unseen, Josef approaches from behind and murders him with an axe, an act captured from a distance by Josef’s camera.

One might wonder why Aaron agreed to meet, knowing Josef’s instability, or why he didn’t sense Josef behind him. These questions remain unanswered.

The answers may lie in Aaron’s nature. He’s a good person but naive, a believer in second chances. Despite sensing Josef’s psychosis, he possibly gave him the benefit of the doubt.

It’s conceivable that Josef spoke to Aaron from behind, possibly instructing him not to turn around, promising a surprise. Aaron, trusting as he is, might have complied.

Ultimately, the film explores the dynamics between two men with starkly different personalities expressing affection in their own ways. Aaron, initially wary of Josef, grows to like him, demonstrating love through trust and forgiveness. Conversely, Josef, a psychotic serial killer, exhibits love through his twisted act of murder.

In the Nutshell

“Creep” is a must-watch for fans of psychological horror and those who appreciate the found-footage format. It’s a film that proves you don’t need a big budget to create something genuinely terrifying. With its excellent performances and a tightly wound narrative, “Creep” is a standout film that lingers long after the credits roll. For those looking to explore the depths of indie horror, “Creep” is a journey worth taking. I give 5 out of 5 stars.

If you already saw this movie, help us rate the movie by click on the Star Rating.

Genre: Found-footage horror

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You self proclaimed reviewers make me laugh sometimes. Where in the movie did you see two men showing love for each other? One guy was a sociopath/psychopath who loved the ritual of making this other guy trust him completely, to then kill him. The bottom line is what this movie is about these two guys who meet because of one answering a fake bait ad for a job. Now as for the guy who answers the ad that you call the nice guy, he was more of an idiot, especially at the end. That was not being nice that was being straight up stupid after knowing what this guy was. I mean what was he 12? No one with half a brain would have trusted this guy again and this shmuch did and that’s why he got killed. That bastard had no mercy he just took an ax I believe to the dummy’s head wow. So predictable it’s a shame. End of story..But you guys love hearing yourself talk I bet because you write in so many words stopping for your opinion, of letters what you can write in half a page. I still don’t see where you saw love between these two guys..Victim and torture killer period. now that’s a spoiler

i don’t think that Josef “showing love” is too crazy. he seems to think that he loves his “friend” Aaron. didn’t he send a video saying that he liked wolves so much, and that wolves kill what they love? obviously for us that’s not love, it’s terrible and torture like you said. but i think the reviewer meant from Josef’s perspective.

I thought it was a good movie, and I totally agree that Aaron guy was totally dumb, and naive for even considering meeting Josef at the park. I would have trusted my instincts and intuition wayyyy earlier, and not even let it get that far. In fact, when he was blocking that wooden door wearing that mask I would have destroyed him. I was a little disappointed we didn’t get to see what happened that night at the cabin. Anyway hands down, they did a good job making the movie, and acting was good as well. I want to know how they did that ax scene at the end. It had an accurate sound to it and everything..

‘Dream Creep’: The Scariest Short on the Festival Circuit Will Make You Fear Your Own Head

Alison foreman.

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Hang onto your ear holes! You can finally add “made someone in the audience puke” to the growing list of accolades recommending “ Dream Creep .”

“I’ve had this idea for a long time,” Lopez told IndieWire, describing an epiphany he had while sleeping next to his wife, executive producer Cathy Lopez. “It sprang very organically from me waking up from a dream that was just really… loud. ”

Dreams so vivid they feel like reality have inspired horror movies since before Freddy Krueger took up residence on Elm Street , but Lopez angles at something truly new and nauseating here. When David (Ian Edlund) wakes up to hear his wife Suzy (Sidney Jayne Hunt) pleading for help from inside her own head, he’s forced to make a choice. Facing an unseen intercranial foe, Suzy spends the first half of the short as a disembodied voice telling David not to wake her up but to do exactly as she says. Otherwise, Suzy will die.

“I remember looking over at my wife and thinking, ‘She has to have heard that dream. There’s no way she didn’t. Viscerally, I felt so much,’” Lopez recalled. “Then, as I was looking at her, I thought, ‘What if I could hear just a little bit of her dream, just a little sound?’ Because when you look at someone who is asleep and they are dreaming, there’s this whole universe happening to them and you can’t understand it unless they tell you.”

“I think it just has a bit more of a punch in the horror format,” producer Megan Leonard told IndieWire. “The concept to me was just so bizarre, and it felt like something that should already exist in horror in a way. I remember thinking, ‘Wow, that’s not already… something ?’”

Longtime friends and living legends of the Seattle Third Wave (that’s the nickname the city’s flourishing filmmaking scene has given itself, but you saw the moniker formalized here first), Lopez and Leonard love movies. They spent the pandemic exchanging VHS tapes, and agree that the director’s love of archival cinema matched with his producer’s eye for current festival programming was integral to the sprawling collaboration behind “Dream Creep.”

“I’ve been collecting my favorites for years,” Leonard said. “But this really felt like a culmination, getting the entire group together and using all of our skills and all of our energy with people that understand the stakes of what we’re trying to do.”

Leonard and Caso, who at one time ran in different circles but always kept tabs on each other’s work, first partnered on the 2018 short film “I See Through You.” That project was written and directed by none other than Lael Rogers, who designed the special effects for “Dream Creep” and joined the producers and IndieWire in Palm Springs. (The writer/director screened her spectacular short “The Influencer” there as well; Lopez spoke with IndieWire by phone and was not in attendance.)

A dazzling web of geolocated production credits, Lopez and Leonard assembled a crew of Seattle’s finest filmmakers and slid many of them into new specialties for a two-day shoot at Lopez’s house. Setting up her own “mixing office” in the the family’s basement, Rogers used at least six different kinds of blood (Eyes! Nose! Mouth! Chunky! Splatter! Bulk!) to take the terror of “Dream Creep” past its aural tipping point. Oh, yeah, David goes for it with the meat thermometer. That’s what made some poor audience member, who saw the short at Vidiots in Los Angeles, throw up.

Never one to ask actors to do anything she wouldn’t do herself, Leonard agreed to step in as Rogers’ test subject for the outrageous nosebleed gag Suzy needed to pull off post-stabbing. Too much fake blood was put too high in Leonard’s nasal cavity for the first attempt, and it flooded the “Dream Creep” producer’s sinuses. The prop plasma would eventually stain the Lopez’s bedroom walls too, when a pressurized stream of blood jetting out of Suzy’s ear goes full Jackson Pollock on a hanging painting. It’s an epic shot with a legacy that’s lasting.

“Before this goes in any publication,” Rogers warned IndieWire with a beaming smile, “I will have you know I protected that wall so well . The blood just wasn’t running right and Carlos told me, ‘Take that protection off. These are my walls. I’m going to repaint.’”

“And one day he will repaint,” Caso quipped. The blood, Leonard said, was “perfect.”

“Every time we meet up, Carlos and I have a new feature,” Leonard said. “We’re like, ‘Wait, wait, wait, are we up to five ?’ It just feels so boundless in terms of what we can do with it.”

The twists Lopez is proposing wouldn’t just make a good idea longer. In keeping with the fastidious artistry behind the most petrifying pillow talk ever put to short film (you’ll notice David wakes up at 12:34 a.m. and the short itself is 12 minutes and 34 seconds long), Lopez envisions an equally imaginative future for what he says could be turned into a psycho-parasitic alien race tapping into human thoughts like open source A.I.

“I’m definitely in the feature writing zone of it,” Lopez said, considering dreams from a kaleidoscopic new angle. “So far, it feels like it’s this alien interdimensional thing where our dreams share a connection with another world. Maybe they’re using us and we just haven’t known. It’s weird that I’ve chosen to be a filmmaker and artist in my life because I’m so troubled by the idea that we have imagination. What — or who — are we dreaming for?”

“We’re staking a claim to this idea, yes,” Leonard said, “but we’re also staking a bigger claim that some of the best movies are being made in Seattle.” Sounds like a dream.

“Dream Creep” is in select theaters for the 2024 Sundance Film Festival Shorts Film Tour .

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Longlegs Continues to Creep Out Critics as Jaw-Dropping Rotten Tomatoes Score Holds Firm

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The Nicolas Cage-led horror movie Longlegs debuts with a perfect 100% Rotten Tomatoes score.
Cage’s creepy serial-killing character is “unrecognizable” according to the film’s director, Oz Perkins — who is the son of Hollywood icon and Psycho star, Anthony Perkins.
Cage himself proclaims that viewers’ lives are “not going to be the same” after they see Longlegs.

Creepy Cage is impressing the critics, which has resulted in a flawless debut on Rotten Tomatoes. Yes, Nicolas Cage’s upcoming horror film, Longlegs, debuts with a perfect 100% on Rotten Tomatoes. Cage portrays a cold and calculating serial killer in writer and director Oz Perkins’ upcoming macabre movie. And, at the time of this writing, Longlegs continues to register a perfect 100% on the Tomatometer thanks to some incredibly high praise from the critics. Michael Gingold of Rue Morgue Magazine writes in his review:

It’s like the feeling you have when you’ve just woken up from a really disturbing nightmare, sustained for 101 minutes.

MovieWeb's own Will Sayre says:

Longlegs is literally scarier than anything I've seen in years.

Mary Beth McAndrews of Dread Central gives Longlegs a perfect 5-out-of-5 score and says:

Longlegs is one of the scariest and best films of the year, hands down.

Meagan Navarro of Bloody Disgusting adds:

Longlegs gets under your skin and stays there, immersing you so thoroughly in the repulsive, discomforting nature of evil through terrifying imagery and a tactile atmosphere that it’s unshakable.

For those unfamiliar with Osgood “Oz” Perkins’ pedigree, he is the son of horror icon and Psycho star, Anthony Perkins. In addition to his writing and directing credits, Perkins' acting resume includes appearances in his dad’s iconic sequel , Psycho II, as well as portraying Dorky David in Reese Witherspoon’s Legally Blonde .

Longlegs Is Creeping Out Critics

Oz Perkins declares Nicolas Cage is “unrecognizable” in Longlegs . Sufficient to say, Cage’s performance and the horror film itself are leaving the critics impressed and incredibly creeped out, too. Courtney Howard of Fresh Fiction gives the upcoming macabre movie an “A-” score and even suggests that the Devil himself had a hand in making the film so stupendous. Howard writes in her review:

It’s as if Oz Perkins' cinematic freak-fest was forged in Hell by Satan, who brought it as an artifact into our world as a gift.

Bill Bria of Slash Film is one of those who gave Longlegs a perfect score (10 out of 10). Bria says:

It's the most terrifying horror movie of 2024, a film that gets under your skin and may never get out.

Longlegs movie with Maika Monroe and Nicolas Cage

See the Puzzling and Terrifying New Teaser for Longlegs with Nicolas Cage

Nicolas Cage's serial killer haunts his victims in a brand-new teaser and cryptic images from the upcoming horror movie Longlegs.

Back on January 5, NEON began an incredible marketing campaign by dropping an eerie teaser for Longlegs that didn’t outright reveal its connection to the Nicolas Cage-led horror film. Rather, viewers had to piece together the clues to even know they were watching something that had any connection to Cage’s upcoming project. EJ Moreno’s Flickering Myth review adds:

The pure horror experience we've been waiting for. It's easily the scariest film of the decade.

Dolores Quintana of the Santa Monica Mirror writes:

Longlegs is a mesmerizing serial killer tale that swallows the viewer whole. The feeling of being inside the head of a serial killer or an intense FBI agent has never been so enrapturing and seductive.

Katie Rife of IGN pointed out some issues with Longlegs, but still gave Perkins' movie a 7-out-of-10 score. Rife writes:

There are moments when Longlegs feels like a movie you’ve seen before, but with an evil filter laid over it: This is both a weakness and a strength, as Perkins’ horror surrealism renders the familiar strange, and the strange familiar.

Longlegs hits theaters on July 12, and Nic Cage says “life is not going to be the same” for those who see the horror movie.

Nicolas Cage

Longlegs review: "A little Nicolas Cage goes a long way in this deeply disconcerting experience"

GamesRadar+ Verdict

An authentically scary dance with the devil that instantly places Perkins among modern horror’s classiest practitioners.

Why you can trust GamesRadar+ Our experts review games, movies and tech over countless hours, so you can choose the best for you. Find out more about our reviews policy.

A little Nicolas Cage goes a terrifyingly long way in writer/director Osgood Perkins’ Longlegs, a serial-killer-procedural-slash-occult-delving creepfest that confidently echoes the likes of The Silence of the Lambs and David Fincher’s Zodiac before spinning off wildly on its own diabolical axis.

Maika Monroe assumes the Jodie Foster role as Lee Harker, an introverted FBI newbie whose near-psychic intuition could be the key to ending a barbaric string of whole-family slaughters in '90s Oregon. Cage, meanwhile, is the film’s titular Lecter: an unctuous predator with a frizzy mop, sing-song cadence and puffy prosthetics that make him weirdly resemble Celia Weston in Shyamalan’s The Village .

Kicking off in the same rounded-square ratio used in David Lowery’s A Ghost Story, Longlegs unnerves from the get-go by having a little girl face a wintry encounter with a wheedling, half-viewed Cage. It takes a while for Perkins (2020’s Gretel & Hansel) to double back to this blood-curdling preamble, by which time we have become fully invested in Maika’s Lee, her genial boss (Blair Underwood) and her vexed relationship with her anxious mother (Alicia Witt).

The horrors, like Cage himself, are largely kept off-screen for much of the movie’s duration. Yet with its eerie soundscape and sepulchral visuals, Longlegs nevertheless succeeds as a deeply disconcerting experience, one that burrows into the brain as insidiously as the innocuous means its villain employs to disseminate his evil. Elsewhere, Sabrina herself, Kiernan Shipka, makes a spiky psych-ward cameo that sees her throw some of 2024’s most memorable insults Lee’s way.

Longlegs is released in UK cinemas and US theaters on July 12.

For more scares, here's all the upcoming horror movies on the way in 2024 as well as our round-up of the best horror movies of all time.

Neil Smith is a freelance film critic who has written for several publications, including Total Film. His bylines can be found at the BBC, Film 4 Independent, Uncut Magazine, SFX Magazine, Heat Magazine, Popcorn, and more.

Final trailer for Nicolas Cage’s new horror movie with a perfect Rotten Tomatoes score is the scariest one yet

My most anticipated horror movie of the year just got a whole lot creepier thanks to Nicolas Cage

Soulslike veterans are being outmatched by the true Elden Lord: this 8-year-old who destroys Radahn on his first attempt at a "very low level"

Screen Rant

“they’re animated so well”: stephen king-approved horror movie with 96% rt score leaves vfx artists rattled.

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Why Stephen King Is Right About This New Horror Movie With 96% On Rotten Tomatoes

India's most expensive movie breaks global box office record, “i wish i had the best news”: community movie gets clarifying status update from the dean actor.

Infested , a French horror movie about a spider unleashing venomous threats, receives praise from Corridor Crew for its impressive blend of practical and CGI arachnids.
Netting a "Certified Fresh" 95% on Rotten Tomatoes and glowing review from Stephen King, the movie could lead to a resurgence in spider-driven horror films.
Infested 's success also proves exciting for co-writer/director Sébastien Vaniček's upcoming Evil Dead , as he could bring a thrilling blend of Deadite terrors and insightful social commentary.

While the movie has already proven to be one of the year's biggest horror hits, Infested is getting a glowing review from Corridor Crew. Co-written and directed by Sébastien Vaniček , the French horror movie centered on an exotic animal lover who acquires a spider, which unknowingly unleashes a venomous threat on his rundown apartment complex. Following a successful run in its home country, Infested premiered internationally on Shudder, where it garnered further rave reviews from critics and audiences, including Stephen King, currently holding a 95% "Certified Fresh" approval rating from critics on Rotten Tomatoes.

Just over two months after the movie's Shudder premiere, the VFX artists at Corridor Crew have taken a look at Infested in the latest episode of "VFX Artists React".

The episode segment, which can be seen above, finds Niko introducing clips from Infested to Niko and Wren, the latter of whom is generally afraid of spiders and is humorously unnerved as the segment progresses. The group go on to share their glowing reactions to the movie's blend of practical spiders and visual effects , with Niko taking note of how the spiders were " animated so well " to create an effectively spine-tingling journey.

Infested Sets A New Bar For Spider-Driven Horror Movies

A spider sneaking up on two scared people in the background in Infested

As with many of his other reviews, King's reaction to Infested was short and sweet, and echoed many of the sentiments seen by the artists in the Corridor Crew video, describing the movie as " scary ", " gross " and " well-made ." More than just getting a glowing review from King, though, Vaniček's hit has set a decidedly higher bar for all spider-driven horror movies going forward, particularly how the arachnids are depicted in similar efforts.

CGI spiders are certainly not unheard of in the world of horror movies, but are often done in a more cartoonish way that rarely feels as effectively terrifying as Infested 's. While Eight Legged Freaks ' spiders worked for the comedy-driven throwback of classic B-movies, and Spaceman 's Hanuš was meant more to be an emotional partner to Adam Sandler's titular character, most other CGI creations have failed to deliver genuine thrills . This is all the more evident in the various direct-to-video and SYFY Channel horror movies throughout the years, which have been praised by some for their B-movie vibes, and lamented by others for their lack of quality.

Vaniček instead hews closer to one of the most iconic spider horror movies with Frank Marshall's Arachnophobia , choosing to not only largely rely on practical spiders, but also find ways to use special effects to accurately depict the creepy crawlers. The Infested filmmaker even explained some of this process to Screen Rant prior to the movie's release, the most important step of which was to have the " CGI team with me all the time " on set , so as to be able to study the spiders closely on the set and believably recreate them through visual effects. See what Vaniček explained below:

Sébastien Vaniček: Yeah, we were lucky to work in a chronological way, so at the beginning of the movie, the spiders are real, because they have a little more shape. And yeah, I had the CGI team with me all the time, so we talked a lot when we were shooting the spiders, and studying them really, really closely. The legs, how they'd behave, why they'd go here, why they'd go there, how they move. We had a lot of shots with them, so the CGI team was able to work with the shots and base their shots on real ones. And that's why, I think, with the idea of putting moving spiders in the dark, that made the CGI believable, even though we didn't have enough money to make it like the Marvel movies, and intense, impressive CGI. I think the combination of these two ideas made the CGI work.

Infested Is A Promising Sign For Horror's Future For 2 Reasons

Though it may have been a streaming-only release in international territories, Infested 's success proves to offer a number of exciting signs about the future of the horror genre . One of the biggest reasons is the possibility of a resurgence in spider-driven horror movies, with the subgenre generally seeing comedic takes in more recent years. With 2024 not only bringing Vaniček's film, which holds just as much social commentary as it does genuine chills, but also the somewhat lighter-toned Sting , its clear filmmakers are keen to explore the real terrors of arachnids.

Another reason why Infested is an exciting sign for the genre's future is what Vaniček has lined up following his feature directorial debut. Just prior to the movie's Shudder release, it was announced that the writer/director had been hired to develop a new Evil Dead spinoff , which he will co-write with his Infested collaborator Florent Bernard. Beyond its unique exploration of class issues in France and brutal law enforcement treatment, Vaniček displayed a strong grip on a filmmaking style that felt reminiscent of original Evil Dead director Sam Raimi, namely the hallway sequence seen in the Corridor Crew review above.

Stephen King and Théo Christine as Caleb from Infested

Stephen King has sung praises for a new horror movie and his reviews holds true because the film boasts an impressive Rotten Tomatoes score of 96%.

Given the Evil Dead franchise has generally been known for its practical-driven horror, Vaniček's ability to blend both practical spiders and spine-chilling CGI arachnids in Infested points towards him being another great filmmaker to carry Raimi's franchise forward. The 2024 movie also offers some insight for how he could blend a deeper story with the grandiose Deadite murders it's known for, as Vaniček and Bernard's script never lets its themes overpower its spider-driven horror. Plus, with King's vocal support of Infested , and the platform's release of the viral hit Late Night With The Devil , Shudder could very well see a major boost in subscriptions .

Source: Corridor Crew

Infested (2024)

Director Sébastien Vanicek makes his feature film debut with a story that follows Kaleb, who is about to turn 30 and has never been lonelier. He’s fighting with his sister over a matter of inheritance and has cut ties with his best friend. Fascinated by exotic animals, he finds a venomous spider in a bazaar and brings it back to his flat. It only takes a moment for it to escape and reproduce, turning the whole place into a dreadful web trap. Starring Théo Christine ( Suprêmes ), Finnegan Oldfield ( Final Cut ), Jérôme Niel ( Smoking Causes Coughing ), Sofia Lesaffre ( Les Misérables ) and Lisa Nyarko.

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At The Movies: Evil Does Not Exist a terrifying eco-parable, horror cliches possess The Exorcism

Evil Does Not Exist (PG)

106 minutes, opens exclusively at The Projector on July 4 4 stars

The story: A Japanese mountain village on the outskirts of Tokyo is upset by a proposed glamping site for city tourists. Japanese writer-director Ryusuke Hamaguchi helms this 2023 Venice Film Festival Grand Jury Prize winner, which also won best film at the London Film Festival and Asian Film Awards.

Hamaguchi’s latest triumph comes on the heels of his twin global hits, the 2022 Academy Awards Best International Feature Film winner Drive My Car and 2021 Berlin Film Festival’s Silver Bear recipient Wheel Of Fortune And Fantasy.

Evil Does Not Exist looks to be another unhurried humanist drama. Taciturn widower Takumi (Hitoshi Omika), the local handyman, chops wood and walks with his eight-year-old daughter (Ryo Nishikawa) in the unspoiled forests.

But there are distant gunshots. Composer Eiko Ishibashi’s dissonant score cuts in and out, and what is with that silent four-minute prologue gazing up at barren tree branches?

Something is off.

The centrepiece is a town hall meeting, one of those absorbing lengthy exchanges that are Hamaguchi’s hallmark. It is the Tokyo developer’s cynical public relations exercise to sell the close-knit community on the benefits of tourism. No yokels, the residents – these non-professional actors have such great faces – angrily pelt concerns of wildfires and groundwater contamination at the two hapless low-level corporate representatives (Ryuji Kosaka and Ayaka Shibutani), who, in a surprising turn, become unlikely converts to their oneness with the natural world.

Hamaguchi is a storyteller too abstruse for a didactic conflict between rural and urban, or nature versus capitalism. With masterful control of tone and thought, the pastoral folktale bears out its sinister undercurrent and swells into an environmental thriller altogether more mysterious, apocalyptic and terrifying.

Hot take: From the title to its shocking ending, this unsettling eco-parable defies expectations and explanations.

The Exorcism (M18)

96 minutes, opens on July 4 2 stars

The story: There is Method acting. And then there is New York actor Anthony Miller (Russell Crowe), a recovering alcoholic whose disruptive behaviour during a remake of the 1973 movie The Exorcist has his daughter (Ryan Simpkins) worrying whether he is relapsing or truly possessed.

The Exorcist, on its way to becoming the most influential horror film of all time, was plagued by nine deaths, debilitating crew injuries and a freak fire.

American director and co-writer Joshua John Miller is the son of actor Jason Miller, who played the doomed Father Karras flinging himself out a window at the climax. The Exorcism is a re-enactment of the late Miller’s experiences on the famously “cursed” production, with his fictitious namesake the protagonist.

It is a meta movie-within-a-movie set on a studio soundstage, of interest most for the Hollywood lore which Joshua John Miller, despite his personal connection, somehow reduces to genre cliches like creaky doors and levitating entities.

Anthony goes from sleepwalking to sleepwalking naked and bloodied. The washed-up star has landed the leading role of a Catholic priest in an exorcist movie, in his hope for professional redemption after years hiding at the bottom of a bottle following his wife’s passing. Instead, he is unravelling under the pressure.

Never forget, Crowe of Gladiator (2000) and A Beautiful Mind (2001) was an acting force. He brings gravitas to Anthony’s metaphorical demons and the ambiguities between grief, guilt, addiction, childhood trauma, performance and the supernatural.

But Miller frustratingly mishandles these dramatic possibilities, and the psychological anguish is just so much poorly lit glum.

Hot take: Another B-movie religious horror within a year of The Pope’s Exorcist (2023). And Crowe’s Satan-slayer does not even get to ride a Lambretta scooter in his cassock this time.

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COMMENTS

Creep (2014)
Rated 4.5/5 Stars • Rated 4.5 out of 5 stars 06/14/24 Full Review Audience Member Stumbled across this on a top ten found footage horror movie chart. CREEP kept me at edge of seat from start to ...
Creep Movie Review
Parents need to know that Creep is a found-footage horror movie with just two characters: father-to-be Josef (Mark Duplass) and Aaron (Patrick Brice), the videographer Josef hires to make a video for his unborn child.It's a fairly typical "stalker" tale, but it's made with style and imagination. Violence is the biggest issue: There's a shocking ax murder (seen from a distance), a constant ...
Review: 'Creep,' a Horror Film With the Look of Found Footage
Creep. Directed by Patrick Brice. Horror, Thriller. R. 1h 17m. The actor and director Mark Duplass has come a long way from his mumblecore days, when he appeared in modest, low-budget movies like ...
Eric's Review: Creep (2014)
This was a terrific scene to establish the tone of the movie. On the surface, the scene is a loving and warm message to the camera, but all around it the darkness is seeping out on the edges. The creepy undertones are immediate, but with Aaron substituting for you behind the camera, you can't just get up and leave.
Creep (2014)
Creep: Directed by Patrick Brice. With Katie Aselton, Patrick Brice, Mark Duplass. A young videographer answers an online ad for a one-day job in a remote town to record the last messages of a dying man. When he notices the man's odd behavior, he starts to question his intentions.
Creep (2014 film)
Creep is a 2014 American found footage psychological horror film directed by Patrick Brice, his directorial debut, from a story by Brice and Mark Duplass, who both star in the film.Filmed as found footage, Brice portrays a videographer assigned to record an eccentric client, played by Duplass. Creep was inspired by Brice's experiences on Craigslist and the movies My Dinner with Andre, Misery ...
Creep
Full Review | Original Score: 4/5 | Sep 20, 2023. An interesting, indie-minded horror, Creep's simplicity adds to its effectiveness as a taught, jarring film. Full Review | Aug 2, 2023. A deeply ...
Creep (2014)
Creep takes every little broken piece of horror, polishes it up, and pastes it together into a beautiful and unique masterpiece. It is extremely disturbing and unsettling without once resorting to gore, which was a breath of fresh air. Be warned that the jump scares are severe but cheesy, but for good reason.
Creep
Sep 1, 2015. Superior found-footage horror film Creep tellingly loses steam after it stops being a rote but tense game of chicken between a normcore derangoid (he likes hikes, hugs, and pancakes) and his wary victim. Read More. By Simon Abrams FULL REVIEW.
Creep (2014)
That's what the protagonist in Creep, a clever and unsettling film about a Craigslist encounter from hell, should have done. Conceived by Patrick Brice and Mark Duplass, and directed by Brice, the 77-minute Netflix film from 2014 has since become a minor cult classic. ... Fittingly so; it's among the funniest and scariest horror-comedies of ...
Creep (2014) Review
Creep (2014) Review. Time: 77 MinutesCast:Mark Duplass as Josef/BillPatrick Brice as AaronDirector: Patrick Brice Aaron answers an online ad and drives to a stranger's house to film him for the day. ... Creep is a well crafted and creepy psychological horror. It is very intimate, and the fact that its being shot and approached as documentary ...
Creep (2014)
CREEP (2014) Studio: The Orchard. Director: Patrick Brice. Writer: Mark Duplass, Patrick Brice. Producer: Mark Duplass, Jason Blum. Stars : Mark Duplass, Patrick Brice. Review Score: Summary: A desperate videographer responds to a cryptic ad placed by a strange man who wants to record his dying days for an unborn child.
Creep
Home > Movie Reviews > Creep Kate (Franka Potente, "Run Lola Run", "Anatomie") is a high living German model living it up in London. When a female friend bails out on her at a party, they were going to sneak into a bash for George Clooney(!), she rushes into the street to catch up with her.
What's your opinion on Creep (2014)? : r/horror
DeusoftheWired. •. Everyone on r/horror should watch it at least once. The performance by Mark Duplass is just phenomenal. I can't name a single movie that's comparable to Creep (not quality-wise, just in general and disregarding the sequel). It's in an uncanny valley between movie and documentary. Reply reply.
Creep (2014) Film Review [Spoiler Free]
Creep. Creep is a 2014 found footage horror film directed by and co-starring Patrick Brice. This is Brice's feature directorial debut and he is lucky enough to work with Mumblecore legend Mark Duplass. These two are the only two actors in the film. The film is entirely told from the perspective of Aaron's camera, creating three perspectives ...
Creep (2014) Movie Review
However, if thrills and horror were what the makers were aiming for, I don't really believe they succeeded here. ★★★ Read More: Blue Jay [2016] Review: Duplass' B/W tribute to simplicity, nostalgia and last love Creep (2015) External Links: IMDb, Rotten Tomatoes, Wikipedia Creep (2015) Movie Cast: Mark Duplass and Patrick Brice
Horror Movie Review: Creep (2014)
Creep is a 2014 American independent found footage horror film directed by Patrick Brice, based on a story written by Brice and Mark Duplass. The film, which is Brice's directorial debut, also stars both writers as Aaron and Josef, respectively. Aaron (Patrick Brice) is an optimistic videographer who decides to come and work for Josef (Mark ...
'Creep' 10 Years Later: Why It Remains a Found Footage Gem
With this period as our focus, and occasional ventures beyond, we will explore this magnificent world of classic horror. So, I raise my glass to you and invite you to join me in the toast. Mark ...
Creep 2014 & Its Sequel, The 2 Best Found Footage Films Ever
The Duplass brothers, Mark and Jay began their careers making short films. This gave them a name in the film-making business. Creep movie was released in 2014, bringing to life Peach Fuzz, a guy in a wolf head costume. In this Creep movie review, I have included the Peach Fuzz Creep movie song lyrics. The Creep sequel followed in 2017.
If You Want A Unique Horror Recommendation, Watch The 'Creep' Movies
An ominous man (Duplass) hires videographers via vague Craigslist advertisements. The movies unfold from the vantage of a single amateur documentarian, sent to a remote cabin ostensibly to capture a day in the life of his or her employer, a boundary-deficient charmer who calls himself Josef. In the first "Creep," Brice plays the summoned ...
'Creep' and the Horror of the Subtle Psychopath
May 7, 2016. By. Brendan Morrow. One of the most disturbing villains in recent memory is not a masked lunatic or a nefarious demon, but rather a seemingly innocuous Craigslist user. His name is ...
What is everyone's opinion on Creep (2014)? : r/horror
2014's Creep got really good reviews on Rotten Tomatoes and IMBD, so I decided to check it out. SPOILERS. So I was actually enjoying the movie through out while I was watching the it, but the ending really ruined it for me. I have seen enough horror movies to point out foreshadowing objects and events at the beginning of a movie.
Creep Review (2015) Review with Ending Explained
The Review (Spoiler Free) "Creep" is a film that stands out in the found-footage genre, delivering a chilling and intimate portrayal of psychological horror. Directed by Patrick Brice and starring Mark Duplass, who also co-wrote the story, "Creep" takes viewers on a disturbing journey through the lens of a videographer named Aaron ...
Film Review
In a Violent Nature (2024) Film Review, a movie written and directed by Chris Nash and starring Ry Barrett, Andrea Pavlovic, Cameron Love, Reece Presley, Liam Leone, Charlotte Creaghan, Sam ...
'Dream Creep' Is the Scariest Short Film in 2024 Festivals ...
At Palm Springs ShortFest, Carlos A.F. Lopez, Lael Rogers, Megan Leonard, and Jonathan Caso explained the making of 'Dream Creep' to IndieWire.
Longlegs Continues to Creep Out Critics as Jaw-Dropping ...
The Nicolas Cage-led horror movie Longlegs debuts with a perfect 100% Rotten Tomatoes score.; Cage's creepy serial-killing character is "unrecognizable" according to the film's director ...
'The Exorcism' review: Crowe stars in meta horror flick that's ...
Jun. 20—First, there's the inspiration behind the new movie "The Exorcism" — the idea that the filming of the acclaimed 1973 film was cursed, which is a thing of rich cinema lore.
Longlegs review: "A little Nicolas Cage goes a long way in this deeply
An authentically scary dance with the devil that instantly places Perkins among modern horror's classiest practitioners. Why you can trust GamesRadar+ Our experts review games, movies and tech ...
"They're Animated So Well": Stephen King-Approved Horror Movie With 96%
While the movie has already proven to be one of the year's biggest horror hits, Infested is getting a glowing review from Corridor Crew. Co-written and directed by Sébastien Vaniček, the French horror movie centered on an exotic animal lover who acquires a spider, which unknowingly unleashes a venomous threat on his rundown apartment complex.. Following a successful run in its home country ...
At The Movies: Evil Does Not Exist a terrifying eco-parable, horror
Hot take: Another B-movie religious horror within a year of The Pope's Exorcist (2023). And Crowe's Satan-slayer does not even get to ride a Lambretta scooter in his cassock this time.

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Review: ‘Creep,’ a Horror Film With the Look of Found Footage

Eric’s Review: Creep (2014)

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Reviewed by 42nd Street Freak

Another fantastic film in the revival of creative horror. Duplass and company continue to show that you don’t need a big budget to make a brilliant genre-altering film.

GAMES, BRRRAAAINS & A HEAD-BANGING LIFE

Horror Movie Review: Creep (2014)

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Creep 2014 & Its Sequel, The 2 Best Found Footage Films Ever

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